Rob Bowen

Creating in Times of Crisis // SPOILERS AHEAD

When I first penned the script for the short film, What They Do in the Shadows, in the summer of 2023, the nation's cultural and political landscape looked quite different than it did when it finally moved into production at the top of 2025. The world took on a whole new glimmer and glow, as if softly lit by the effortlessly warm light of the eternal dumpster fire that is the second term of the turdish one and his stunted minions. The tone had shifted and grimmer grips were taking hold. A tone that was impossible to ignore as cameras rolled and within the first couple of pages one of the actors is panickedly screaming the lines, “They're taking people!”

Especially given that in the first draft of the script, and as was intended until December 2024, the character who utters that poignant piece of dialogue was named Alonso, positioning it to be portrayed as a person of color. However, in the twilight of '24, I was contacted by an actor I had not worked with, about potentially partnering on a project, and I ended up shifting her into that role. Re-penning it as a character named Linda instead. But the changes didn't remove the tension and chills that set upon several of us in the cast as those lines were uttered for the first time on set the evening we rolled camera on those opening moments of the short.

It was quite chilling in the early days of the Trump administration's I.C.E. raids with stories breaking near daily about acts of extreme overreach. Tales of the shadowy government agency, empowered in nightmarish ways by this unfeeling and unfit fascist regime with their authoritarian dreams, grabbing people off of the streets. Something which, at the time, was quite a shock for the public to see in the neighborhoods and retail centers of the U.S.A.. And that shock landed as “They're taking people!” resonated through the room, echoing the ways it was currently reverberating across the country. The words took on a whole new context and potency, one denied them in the dawn of their dreamy introduction onto the page, and a moment was taken.

But more than that, a moment was captured. Reflected in the art of creation was this current and desperate moment of destruction. And as artists, such moments need to be acknowledged. Just as the broader moments of decline and distress must be answered and challenged. For what is an artists' responsibility in times of crisis, if not to create and answer those moments? It was in this very spirit, and in the run up to production, that I had already pivoted on the ending of the film, with close consultation of our lead actor, Heidi Rowan, and my producing partner, Travis Eckland. Already in the first moments of 2025 feeling the pull of the treacherous promise of the coming regime change, I revisited the ending to imbue it with more of a hopeful and purposed intent.

Artists are in a unique position. As the lenses that we apply to our work, the threads that we have connecting it to, or grounding it in our current moment or in the real world, present us with an opportunity. Nay, a responsibility. Uncle Ben's words should be regarded as a potent truth by every artist. By virtue of how we deal with said moment, and characterize it, we can either normalize, ignore, or we can directly confront it. Hopefully finding ourselves willing and able to file into the final call to action, positioning ourselves in the lane of confrontation.

I recently filled in for a few weeks, assisting a colleague of mine at the University of Colorado Colorado Springs, teaching the introductory portion of a class on Political Cinema. And in that time, I asked the students to think about, and eventually pen a short paper defining, in their minds and their terms, what constitutes or makes a film “political.” Knowing that the definition is something of a point of contention among those in the industry who have tried to define this very thing for years, and tend to land along a spectrum of answers, without anything “definitive” shaking loose. But for me, I am of the mind that, all films can be seen as inherently “political” simply owing to the fact that they are all created in a moment and context they cannot be divorced from.

When you set and locate your film in a particularly period or place, context comes along with it. And if the filmmakers choose to ignore the politics underpinning the moment of creation or setting, that in and of itself is a choice that makes a statement. Saying those politics have no place within the story, speaks volumes. As does featuring those politics without any sort of statement about them, which can act or be read as a lens of normalization. So for me, it's hard to not have a film be political in some way or another, just by virtue of it being. Especially once you fix it within a particular historical/geographic context or moment.

In that same vein, I would urge and hope that most filmmakers, especially those indie scrappers who are ruggedly traversing this terrain on their own terms anyway, to use this opportunity to make sure their art is confronting the moment and always speaking truth to power. Because, when you start creating on other's terms, you may not have the ability to speak out as you would like or prefer to. So take full advantage of the freedom you have when creating. Shape your voice to be one that is unwavering, and uncompromising, so that you are always able to stand proudly next to your body of work. Meet the moment, and do it with intention. Production, e.g. creation, is the panacea for our public ills.

Artists and Intents:

At this point, I would love to turn the write-up over to some other artists, and talk about some of their intentions and views. I have asked the two lead actors from the film to answer a couple of questions now. To share some of their thoughts.

First, thank you for taking time to share with us today. Please introduce yourself and give a bit of insight into your journey as an actor/performer.

H: I am Heidi Moos my acting name is currently Heidi Rowan [now Moos]. I have been acting in short independent films since I was 18. Oddly I've done more horror genre films than drama and comedy. I have had a passion for acting since I was 3.

L: Hello my name is Lexi White, I was a theater actress mostly in middle school and high-school but when COVID hit I started looking more into film acting after my theater teacher informed me that I act like I’m in a movie and not on stage. I took her advice and started studying film in my free time and auditioning for short films which lead to this film.

Do you remember what you first thought when you got the script for What They Do in the Shadows? Was there something about the story or piece that drew you to the project?

H: My first thought was woohoo my character doesn't die (I tend to be characters that get nixed in the film). The character Ariel has a lot of similarities to me so I knew I could become Ariel easily.  I was also elated to know I was finally getting to play a lead character!! This is my first lead role in a film. I was also very stoked at the opportunity to work with Rob again, he's the best and so awesome to work with!

L: I was very excited to be considered to be apart of the film and even more happy to find out that it was horror themed. I liked that there was subtle humor in some of the characters and that everything written felt like I was in the moment with the characters. None of the characters ever felt fake to me.

What were your intentions for your character? How were you hoping they would be received/read?

H: I wanted Ariel to be the proud optimist and also a bit cynical and almost a know-it-all.  Then we see her unravel.

L: I intended on making my character more like a live in nurse I always pictured Tammy was studying to be something bigger in life before she got into senior care. I wanted Tammy to be seen as along for the ride and realistic in not knowing and not trusting. I wanted her to be smart and not cocky and that as the film continues her anxiety rises with the pacing. I did my best to communicate that with my tone and body language.

Was there something about the filming process that stuck with you, or something in the final cut of the film that resonated with you in an unexpected way?

H: It's funny, after the first night of filming I went home, did my normal bedtime routine. I fell asleep  slightly but was woken by a boom then still silence shortly after. We have a lot of "white noises" in our house so dead silence will spook me. But I woke to realize there was a power outage....and I thought oh seriously...we are just gonna live this film for reals...great. I definitely felt a tiny panic attack pop off. I had to take a deep breath and remind myself that its just a script and all is well! I was also graciously gifted a set prop as a memento and it sits on my nightstand. I look at it every night and remember that this is a journey and each script is a step toward my further dreams!

L: (Spoiler) I loved my death scene I loved that this character that was strong for so long couldn’t even survive this world. Even though she learned the rules and did everything right she still wasn’t spared. I liked that Tammy had her moments but didn’t take away from the film after she died it was perfectly paced.